Reality
is interpreted in many differing ways by many different beings. Every
individual being perceives reality from a different angle. Groups
of beings that use similar angles for interpreting reality share imagery
and metaphors, and generally agree with each other in terms of their sanity. The
Indian culture is represented by a multitude of spiritual groups, many
of which differ greatly from each other in terms of their use of symbolism
and meaning. Different traditions in India have
developed different rituals and often worship different deities. Although
there are many different perspectives concerning spirituality, all possible
angles of perception are connected by that which is known as Brahman, the
Absolute.

Brahman is
the eternal ocean of infinity from which all existence is manifest and into
which all existence is dissolved. In the Upanisads, which are
part of the ancient Indian Vedic texts, Brahman is described as unfathomable,
limitless, attributeless, unchanging, and eternal. [1] Brahman,
the Absolute, is beginningless, undying, omnipresent, and omnipotent. Brahman exists
eternally in a state of pure undifferentiated energy. This ocean of
the infinite spirit is incomprehensible to the mind because Brahman is
eternally beyond definition. Brahman is the broadest sense of
infinity. Any attempt to define the broadest sense creates an idea
or thought which is finite and bounded by space and time. Brahman is
the infinite and unbounded source of all things. All thoughts are reflections,
or finite projections, of the infinite Absolute. Thus, Brahman is
beyond existence, beyond mind, and beyond form.

It
is this conception of Brahman which unifies all the seemingly diverse
traditions of India. Although
the Absolute is generally described as nirguna (qualityless) and nirakara (formless),
most traditions understand that Brahman is also saguna (with
qualities). [2] In
this context, Brahman is represented by the Infinite Being, or Personality
of the Godhead. The Godhead, or the Infinite Being, is interpreted
within the Indian tradition to be a trinity, consisting of Visnu (the preserver),
Brahma (the creator), and Shiva (the destroyer). In general, Indian
culture consists of two major traditions, those that worship Visnu as a way
to contact the Infinite Being (Vaisnavism), and those that worship Shiva
to contact the Infinite Being. (Saivism). The creator aspect of Godhead,
Brahma, is too specific to encompass the Infinite Being and is therefore
not worshipped as the highest essence. Visnu and Shiva, however, are
essentially the same Being and their nature is such that either can be seen
to represent the Godhead.

There
are also other cultures in India that
worship Kali, or the Great Mother Goddess. Thus, the three primary
lenses that are used to focus the essence of Brahman are Shiva, Visnu,
and The Great Goddess. Saying that two beings are using different lenses
is the same as saying they are using different angles of perception to interpret
reality. However, because all perceptions are projected shadow reflections
of the Infinite Being, no matter what lens you decide to use all perspectives
are essentially looking toward the same thing, the Absolute. Put another
way, each individual reality is a shadow that is projected by the Infinite
Being and each individual is reflected at different angles. When a
group of individual shadows look up to see where the light is originating
from, they may use different angles, but they are seeing the same thing. All
light comes from the One Source which is Brahman.

From
the perspective of Eastern philosophy, the Godhead is simultaneously formless
and with form. If this seems paradoxical it is only because the Infinite
Being, or the Personality of Godhead, transcends mundane human comprehension. All
forms of existence are indeed moving images of the Godhead, and at the same
time, the Godhead is eternally beyond all that exists. All that exists
will be destroyed while the Infinite Being is primordial, unborn, and eternal. Paradoxically,
the Godhead is not only everything and everywhere as well as nothing and
nowhere, but indeed, the Godhead actually has a personality. The Infinite
Being is both undifferentiated and differentiated, unmanifest and manifest,
as well as without qualities and with qualities. Generally speaking,
the Supreme is both transcendent and immanent. [3]

Throughout
the history of Indian spiritual movements, the Saiva tradition is perhaps
the most influential. Subtle forms of Saivism can be traced back more
than five thousand years to the eariliest Vedic transmissions. However,
the iconic imagery associated with Shiva is quite recent and developed around
the third century A.D. In many ways, as we will see, Shiva is an ideal
personification of the Absolute Brahman.

Several anthropomorphic interpretations of Shiva

Shiva
encompasses all the paradoxes of the infinite and has both transcendent and immanent
sides to his nature. By forming a relationship with Shiva’s immanent
qualities, a faithful devotee is able to contact the Infinite Reality of
Godhead in the transcendent form.

Generally
speaking, Shiva is an interesting character because his personality transcends
all physical, social, and spiritual boundaries. It is widely known
that Shiva does not behave according to the ways of the world, and his appearance
is most unconventional. Some might say that his wild habits are uncivilized
and strange. For example, it is also well known that Shiva does not
care to live in houses but prefers to live in caves, on mountains, or in
forests, or to wander the world as a homeless beggar. He also spends
much of his time dancing wildly in the cremation grounds. Indeed, many
people refer to Shiva as the great unpredictable madman. [4]

Despite
his uncouth ways, Shiva is the highest ascetic and is known as the Supreme
Yogi (lakulisa). High on Mount Kailasha, his eternal abode,
Shiva spends countless eons deep in meditation. At the same time, Shiva
is known as an erotic lover, especially in the tradition of Shakti-Shiva
which will be described later. This paradoxical connection between
asceticism and eroticism is deeply rooted in the conception of Shiva. Besides
being the Lord of Yogis, Shiva is also the Lord of Dancers (nataraja). He
is also known as the God with the Moon in his Hair (candrasekhara),
the Supporter of the Ganges (gangadhara), The Slayer of the Elephant-Demon (gajasamhara),
The Lord Who is Half Woman (ardhanarisvara), and The Destroyer of
Time (kalasamhara). [5] Before
we take a deeper look at some of these immanent qualities, let us consider
Shiva as The Great Lord (mahasamurti).

The
Great Lord is represented by a three-headed figure of Shiva. This figure
is also known as the Eternal Shiva. A stone carving depicting this
image exists in the Great Cave of Shiva at Elephanta, which was created in
the eighth century A.D. This amazing sculpture captures the process
of creation and the nature of the Infinite Being in a very straightforward
manner. The middle head represents the Absolute, the divine center. The
head over the right shoulder is a male profile and represents the masculine
aspect of existence. The head over the left shoulder is the profile
of the feminine principle.

Shiva the Great Lord

“The
Essential Significance of Shiva’s Dance is threefold: First, it is
the image of his Rhythmic Play as the Source of all Movement within the Cosmos,
which is Represented by the Arch: Secondly, the Purpose of his Dance is to
Release the Countless souls of men from the Snare of Illusion: Thirdly, the
Place of the Dance, Chidambaram, the Center of the Universe, is within the
Heart.” [9]

Shiva Lord of Dancers

Shiva
is also represented with long dreadlocks which are flying in both directions
as he dances. Many bronze Nataraja images include several symbolic
images which are embedded in Shiva’s hair. For example, within
his ascetic locks one can usually find a symbol representing the Goddess
Ganga. This goddess is associated with Shiva because long ago she was
as invoked by a man named Bhagiratha to descend to Earth in the form of a
river in order to purify the ashes of Bhagiratha’s great-great grandfathers. His
ancestors were destroyed by Lord Kapila and their ashes lay for generations
at the bottom of a great empty ocean. Thus, they were unable to attain
liberation unless their ashes were purified by the holy waters of the Ganges. However,
Ganga is so powerful that if she were to descended to Earth, it could have
destroyed the entire world. After many years of performing severe austerities,
Bhagiratha invoked the presence of Shiva, whom agreed to bear the impact
of the Ganges upon his head. [10] Thus Ganga was able to descend from Heaven
in order to purify the Earth. Other ornaments in Shiva’s hair
include a skull which is symbolic of death, and a crescent moon which represents
illumination.

The
image of the Dancing Lord immediately conveys the dynamic motion of reality
and nature. However, in the midst of his furious dance of creation
and dissolution, Shiva remains in a state of elegant serenity. Just
as in the sculpture of the Eternal Shiva of Elephanta, his expression is
undisturbed by the qualities of existence, for he is eternally absorbed in
the Infinite Brahman. His attention is not directed outward,
but inward, towards the inner Self (Atman) which resides deep in the
heart of all things. The place where the Shiva’s dance is performed
is known as Chidambaram, which refers to the heat of the individual and the
heart of the Universe. “This is His Dance. Its deepest significance
is felt when it is realized that it takes place within the heart and the
self. Everywhere is God: that Everywhere is the heart.” [11] The Atman is
the eternal soul which is never born, never suffers, and can never be destroyed. Atman and Brahman are
one. Abiding in the eternal bliss of the all-knowing Self, Shiva’s
dances creates the illusion of Maya, yet he is never distracted from
the inner light of Brahman-Atman.

“His form is everywhere:
All-pervading in His Shiva-Shakti:
Chidambaram is everywhere, everywhere His dance:
As Shiva is all and omnipresent,
Everywhere is Shiva’s gracious dance made manifest.” [12]

Shiva’s
dance represents the source of all existence (Brahman) dancing playfully
with it’s Self (Atman). The figure embodies five major
attributes of the Infinite Being: creation and evolution (sristi),
preservation and support (sthiti), destruction (samhara), veiling
and illusion (tirobhava), and release and grace (anugraha). The
purpose of the dance is to release the souls of the illusioned by awakening
the infinite spirit, which is the frequency of infinity. Shiva’s
divine light penetrates the darkest realms of Maya. The source
of this light is Chidambaram, within the Heart.

“Amid the flowers of His creation (prakriti), He lingers
in a kiss.
Blinded by their beauty, He rushes, He frolics, He dances, He whirls.
He is all rapture, all bliss, in this play (lila).
In consciousness alone, in love alone,The Spirit learns the nature of His
divine being.
Divinely playing in the multiplicity of forms, He comprehends Himself.” [13]

It
is often difficult for some to understand this playful side of Shiva. Indeed,
because Shiva is known primarily as The Destroyer, his presence is often
terrible and horrific to those who do not recognize their own Self. Shiva’s
dance creates the illusion of Maya which bewilders the ego-self and
causes forgetfulness of the Absolute Truth. However, all existence
is finite, and whatever has been displayed will be dissolved back into the
divine essence of Brahman. At the end of each Universal Cycle,
called the Mayayuga or the Great Eon, Shiva destroys all that has been created. However,
his furious destruction of the Universe ultimately releases all souls into Brahman;
thus, there is no reason to fear Shiva’s gruesome appearance as Death.

Indeed,
Shiva is known as Yamantaka, which means The Destroyer of Death. Shiva
ultimately conquers Yama, the God of Death. Shiva is Kala,
which means Time. However, Shiva is also known as Maha-Kala,
which means Great Time, Eternity, the swallower of time, and the swallower
of all the ages and cycles of ages. Shiva is the destroyer of time
(kalasamhara). [14]

Shiva
is definitely characterized by his wild, unpredictable, destructive aspect. As
the Lord of Dance, Nataraja, Shiva performs the tandava, which
is the fierce, violent dance in which the Universe is destroyed. “In
descriptions of this dance, Shiva’s whirling arms and flying locks
crash into the heavenly bodies, knocking them off course or destroying them
utterly.” [15] Through
Shiva’s transcendental movements, everything is destroyed at the end
of Time, only be re-born again at he beginning of the next Mahayuga. In
addition to Shiva’s tandava dance, which is explosive and overwhelming,
he also performs the lasya, which is a gentle dance full of emotions
of tenderness and love. Shiva is the master of both the tandava and lasya forms
of dance.

An
essential key that can be used to unlock the mystery of Shiva lies in understanding
that the Infinite Being represents the union of all polarities, which is
why Shiva appears so paradoxical to the rational mind. The Infinite
Being is infinitely small and infinitely large, everywhere and nowhere, good
and evil, positive and negative, hot and cold, as well as violent and peaceful. We’ve
already seen that the universe is the result of interacting polarities, such
as the male and female heads of the Eternal Shiva. In the same context,
the God and Goddess, yin and yang, are the first born manifestations of the
Absolute. The Absolute is beyond the differentiating qualities of sex,
and at the same time the Absolute is both male and female. In order
to explore this idea, let’s consider the tradition of Shakti-Shiva.

In
general, all male gods possess an inherent power with which they are able
to express their creative energy. This power is known as shakti,
and is always personified in the form of a goddess. Shakti not only
represents the consort of a deity, but it represents the deity’s embodied
power. In a less patriarchal sense, God and Goddess are equal and together
they represent the Divine Couple. The male and female qualities of
Godhead are unified by their transcendental love for each other, and together
they are responsible for the creation of the all existence.

Shiva,
the Infinite Being, and Shakti, his consort, can be understood in terms of
the concepts of purusa (pure spirit) and prakrti (nature). In
this context, Shiva is the essence of Brahman and Shakti is the life
force which underlies and pervades the entire natural world. Although
Shiva and Shakti may appear as opposites, they are in essence one. One
cannot exist without the other. “Gazing with a deep and everlasting
rapture, they are imbued with the secret knowledge that, through seemingly
two, they are fundamentally one.” [16] Many
popular traditions in India hold
the perspective that the Universe is created as a result of the eternal lovemaking
of Shakti and Shiva. Shakti is known as The Fairest of the Three Worlds (tri-pura-sundari),
and is also referred to as the most beautiful woman in the Universe.

The
Universal power of Shakti is often identified with the Goddess Parvati, Shiva’s
second wife. Shiva’s first wife was a goddess named Sati. Sati,
it is said, committed suicide when her father, Daksa, insulted Shiva by not
inviting him to a great sacrifice that was being performed. Parvati
is generally considered to be the reincarnation of Sati. Parvati is
a name which means “she who is of the mountains.” If Parvati
is the earth, then Shiva is the sky. If Parvati is the light, then
Shiva is the sun. If Parvati is the embodiment of all individual souls,
then Shiva is the soul itself. Shiva and Parvati live on Mount Kailasha
and spend much their time making love, which is so intense that it shakes
the cosmos. [17]

Androgynous Shiva

Parvati

A
further illustration of the divine union between male and female is the Ardhanarisvara image
which is an androgynous figure of Shiva and Parvati. This image is
usually depicted by a sculpture that is half-male and half-female. The Ardhanarisvara emphasizes
the interdependency of the two complimentary aspects of the divine. Only
in union can they satisfy each other and fulfill themselves. The Godhead
is male and female, father and mother, aloof and active, as well as destructive
and constructive. In his androgynous form, Shiva represents the union of
all existing polarities.

Up
to this point, we have looked only at the anthropomorphic, or immanent, representations
of Shiva. Each particular image effectively represents the paradoxical,
transcendent qualities of the Absolute Brahman. However, they
are only images that humans have created to facilitate the comprehension
of that which is inherently indefinable. The immanent, or iconic, forms
of Shiva represent the various forms and metaphors of the Infinite Being
that have developed in the eyes and minds of worshipers over thousands and
thousands of years. However, all these ideas are limited by space and
time. For example, we create human versions of the Absolute because
we are human. If we were any other different species, say from somewhere
else in the Universe, we would probably use a completely different set of
visual images and metaphors to relate to the Absolute, which is the Infinite
Source of all existence, no matter what galaxy you’re from.

For
this reason, the most common and widely accepted form of worship in the Saiva
tradition focuses on an object which transcends the iconic image of Shiva. This
object is the linga. The linga, unlike the images discussed
earlier, is aniconic. The word linga can mean “mark”, “sign”,
or “phallus”, and it is usually represented by a small egg-shaped
stone or a stone cylinder with a rounded top. [18] This
form of Shiva is referred to as “fixed” or “immovable” (dhruva). The linga is
also considered to be “the fundamental form” (mulavigraha) of
Shiva. In contrast, all the anthropomorphic images discussed so far
are considered “movable” (cala). [19]

The linga itself
is simple and straightforward. It is completely undifferentiated and
thus reflects the every-thing and no-thing that is Brahman. The linga directly
represents the transcendent aspect of Godhead which is eternally beyond form
or description. Often, the perimeter of temples and shrines that dedicated
to Shiva are lined with immanent manifestations of Shiva depicting various
epic scenes that correspond to mythology. However, in the center of
the temple, or inner shrine, Shiva is worshipped in the form of the linga.

The
cave temple of Elephanta (6th century) and the rock-cut temple
of Ellura (8th century) are perfect examples. In the
temple of Elephanta, the walls and doorways are decorated with illustrations
which depict Shiva’s anthropomorphic manifestations. Among these
are images of Shiva the Lord of Yogis, Shiva the Lord of Dancers, the Eternal
Shiva, Shiva the vanquisher of the elephant-demon Andhaka, the Decent of
the Ganges, the Marriage of Shiva and Parvati, and the Androgynous Lord as
Half-Woman. However, the central sanctuary of the temple is a simple,
square shrine, with four entrances, each guarded by a pair of divine door
keepers. Within the inner sanctum is the symbol of the linga.

The
Shiva linga often resembles an egg-shaped stone. The use of
this small “Cosmic Egg” is probably the most ancient form of
Saiva worship. There are also lingas in the form of a cylinder
with a rounded top. In this form, the linga is often interpreted
as a fiery column of light, or lightning (vajra, keraunos) The
pillar of light can also be interpreted as the Axis Mundi, which connects
the physical and spiritual dimensions of existence. [20] The
cylinder shaped linga is also a symbol of the male creative energy,
thus it has also been interpreted as a phallic image. The earliest
phallic linga is the Gudimallam linga which dates back to 100
B.C. [21]

The
male energy of the linga is often combined with the female energy,
which is represented by the yoni or pitha. In many cases
the vertical shaft of the linga is depicted emerging from a circular
base, which forms the yoni. This image symbolizes the antagonistic
yet cooperative forces of male and female, Shiva and Shakti, transcendent
and immanent, as well as spirit (purusa) and nature (prakrti). The
image of the linga and yoni is the simplest representation
of the Divine Couple as Godhead.

Inside the cave of Elephanta

Shiva linga within inner shrine at Elephanta

Many
forms of worship are offered to the Shiva linga such as sprinkling
the stone with water, offerings of flowers, food, cloth, and incense. Also,
the linga is often anointed by smearing the stone with various substances
such as vermilion paint or dry red kunkum powder.

All
representations of Shiva, iconic and aniconic alike, require the invocation
of the divine presence. If these forms are actually going to be used
to contact the essence of Godhead, the worshiper must animate the image of
Shiva through ritual procedures. Images used in temples undergo special
rites of consecration. For example, before the image is even created,
the artist performs a ritual purification and prays to the deity that is
to be embodied. Once the image has been completed, it is purified with
a variety of substances, such as darbha grass, ghee, and honey. Then,
in a ritual known as pranapratistha, the breath of life (prana) is
evoked into the image. This is usually done by chanting a mantra which
brings the inner presence of God into focus. Finally, the eyes of the
image are opened by a brahmin priest using a golden needle. [22] The consecrated images of deities appear
in temples dressed in silk clothing and decorated with necklaces, bracelets,
belts, and rings. Offerings usually include incense, flowers, and plates
of coconut, bananas, and rice.

Clay
images are often used during special puja celebrations and festivals. These
festival images are often taken into the home and worshipped or taken on
procession through the town. In either case, the image is treated as
if it were the living form of the deity. Once the image has been consecrated,
there is no difference between the physical form and the presence of the
deity that is being worshipped. After the festival is over, the image
is usually taken to a river or ocean and submerged into the waters. The
image of the deity dissolves and the divine presence is released from material
embodiment.

The
image of the deity is a specific embodiment (murti) of divine energy. All
things are specific manifestations of the Infinite Spirit. In general, murti refers
to anything which has a definite shape and limits. The embodiment,
maintenance, and dissolution of the consecrated image obviously reflects
the experience of all living entities which are created by the Source, maintained
for some finite period of time, and then destroyed, at which point the soul (Atman) returns
to the Infinite ocean of undifferentiated divine consciousness (Brahman).

More examples of the Shiva linga

“The fabricated image is a body (vigraha) or embodiment (murti). Divinity
in the form of a soul (Atman), animating spirit (jiva), life
breath (prana), consciousness (cetana), or divine energy
(shakti) must enter this body to bring it to life, to infuse it
with divine presence, just as a soul must enter a human body to instill
life into it.” [23]

An
important point to remember is this: even through the Atman had become
identified with material nature, due to the effects of Maya, at no
time is the embodied manifestation separate from Brahman. “The murti is
a body-taking manifestation, and is not different from the reality itself.” [24] The
Absolute is the Source of all forms, the Absolute is not different from the
forms that it assumes, and at the same time, the Absolute is eternally beyond
form. According to the Bhagavata tradition, there are five forms of
the Lord.

“The
five are the Supreme form (para), the emanations or powers of the
Supreme (vyuha), the immanence of the Supreme in the heart of the
individual and in the heart of the universe (antaryamin), the incarnations
of the Supreme (vibhava), and the presence of the Supreme Lord in
a properly consecrated image (arca).” [25] The
bottom line is that any thing that exists is a manifestation of the Infinite
Being, and thus, any form of object can be used to represent the essence
of God. However, it is impossible for any image to ever capture the
pure essence of Brahman because the Absolute is eternally beyond any
form of definition. In many ways, the manifest image of Shiva allows
humans to visualize and approach the Supreme Being, which otherwise remains
incomprehensible and inaccessible.

Shiva
is perhaps the ideal personification of the Infinite Being because he is
closely related to the act of destruction. However, this destruction
is not be feared. The presence and knowledge of Shiva destroys the
illusion of suffering and false-ego. All things are destined to be
dissolved into Shiva’s fire. However, this fire only burns away
the prison if ignorance. The Atman is eternal and indestructible;
thus, Shiva’s fire represents the awakening of the soul to its true
nature, or Higher Self, which is none other than the Infinite Being.

To
obtain liberation (moksa) is to awaken from the illusion of selfish
desires and material attachments. The material world is called Maya because
it is only a temporary mirage or reflection of the Infinite Being, which
is eternal. The Personality of Godhead is the source of all existence,
which lives deep inside each and every heart. Each specific part of
existence essentially contains the whole. Yet, at the same time, the
whole is greater than the sum of its parts. Everything comes from the
Godhead, and the Godhead is everything.

Throughout
the history of Indian spiritual movements, there have been many schools of
thought concerning the most effective way in which the Godhead can be reached. One
such school of thought is founded on the commentaries of an eighteenth century
philosopher named Sankara. His philosophy is generally known as Advaita
Vedanta. Sankara emphasized that image worship is an inferior mode
of religious practice. Although some worshipers may only be able to
approach divinity in the form of an embodied physical image, he considered
this form of worship to be on a lower level then direct unmediated realization
of oneness with the transcendent Brahman. Sankara also emphasized
that Brahman is formless and without qualities (nirguna). [26] The Advaita Vedanta conception
of Brahman is formless and impersonal. However, one can not ‘know’ God
if one is focusing only on the impersonal aspect of Brahman.

Many
spiritual traditions of India are
based on bhakti yoga, which requires a personal relationship with
Godhead in the form of devotional service. One particular group, which
was founded on devotional worship of Shiva, is known as the Virasaivas. The
Virasaivas did not worship images of Shiva; instead, they composed vacanas, which
are free-verse bhakti poems dedicated to Shiva. The only physical
image of Shiva that the Virasaivas associated with was a small linga, which
the devotees wore around their necks. Like Advaita Vendantism, the
Virasaivas considered the Universal form of Shiva to be incomprehensible
and without qualities. However, unlike Sankara, the Virasaiva devotees
were able to experience the Infinite Being though a personal relationship.

“It is explained in the Gita that impersonal Brahman is subordinate
to the complete Supreme Person. Brahman is more explicitly
explained in the Brahmasutra to be like the rays of sunshine. The
impersonal Brahman is the shining rays of the Supreme Personality
of Godhead. Impersonal Brahman is incomplete realization of
the absolute whole.” [27]

Those
who have realized the limited realization of an impersonal Brahman have
also realized that the true experience of Godhead is not something that can
be commanded by the individual living entity. In the bhakti schools
of spirituality, devotional service to a personal Godhead is considered far
superior than an intellectual or philosophical relationship with an impersonal Brahman. For
true devotees, the Supreme Personality of Godhead is the focus of every thought
and every activity.

“All true experience of God is krpa, grace that cannot be
called, recalled, or commanded. The vacanas distinguish experience
and the Experience. Living in history, time and cliche, one lives
in a world of the pre-established, through the received and the remembered. But
the Experience when it comes, comes like a storm to all such husks and
labels.” [28]

The
true presence of Shiva, the Infinite Being, is accessible to those who are
able to release themselves into the present moment, those who surrender all
forms of finite attachments, and those who cultivate a personal relationship
of devotional service to the Supreme Being. In whatever way the devotee
approaches the Personality of Godhead, in that way the Godhead reveals Himself
through transcendental grace and infinite love.

“Impersonalists argue that the Supreme Lord ultimately has no form. Persons
who are under the impression that the Absolute Truth is impersonal are
described as abuddhayah, which means those who do not know the ultimate
feature of the Absolute Truth. Only by the mercy of the Supreme Lord
can the Personality of the Supreme be known. My lord, if one is favored
by even a slight trace of the mercy of Your lotus feet, he can understand
the greatness of Your personality. But those who speculate to understand
the Supreme Personality of Godhead are unable to know You, even if they
continue to study the Vedas for many years. One cannot understand
the Supreme Personality of Godhead, or His form, quality or name simply
by mental speculation or by discussing Vedic literature. One must
understand Him by devotional service.” [29]

Throughout
this exploration into the depths of transcendental wisdom we have encountered
many conceptions of Shiva, the Infinite Being. Shiva represents the
Godhead which is the Original Source as well as the Destroyer of all existence. Shiva
is the essence of the Infinite Brahman. Brahman is incomprehensible
to the rational intellect because the transcendental Absolute is eternally
beyond any form of definition. The essence of Shiva is often conveyed
through the use of metaphorical images which are designed to resonate with
the subconscious intuition of living entities which are currently existing
as finite projections of Infinite Source. However, the Infinite Source
is actually within the heart of each living entity. The illusion of Maya,
which is created through identification of the Atman with material
nature, causes forgetfulness of one’s eternal connection to the Source
of All that Is. The only way out of this illusion is to realize the
broadest sense, which is that everything comes from and returns to the One
Source. This Source is the divine consciousness of the Infinite Being. The
only way to truly contact this Reality is through the grace of the Infinite
Being, which is given freely to those who are engaged in loving devotional
service to the Supreme Personality of the Godhead.